@@ChillaxManMinecraft I’m still kickin’…

@@chadmwest thanks for watching!

Thank you for watching the video and it is a great question. I don’t have a MicroKorg, but did research the arpeggiator and its unique ability to turn on/off steps which results in no GATE signal being sent for the OFF steps. In my video I point out that one of the biggest misunderstandings that I had about the Mod Sequencer was that it does NOT produce gates. I also show that the arpeggiator DOES produce gates. The MS2000 arpeggiator does not have the capability of the MicroKorg, a design choice that Korg made. Regarding using the Step Length to simulate the MicroKorg arpeggiator functionality, there is really no way to use that feature to turn off gates. What you can do though is modulate something that would have the effect of muting the sound for particular steps. For example, the Amplifier can be modulated by the Mod Sequencer and therefore setting steps in the sequence to set the Amplifier to 0, would mute that particular step. Another example would be to set the Sustain Level of EG2 to zero for particular steps. You would need to experiment here as there are a lot of factors affecting the sound coming out for a particular patch. Finally, if you watch one of my other videos on the Korg SQ-1 titled ‘undocumented features’ you’ll see examples of exactly what you are proposing. Using the MIDI output of the Korg SQ-1 with gates turned off for specific steps will produce the same effect as the MicroKorg. One key difference is that you must program the notes into the SQ-1 that you want to hear, whereas the MicroKorg arpeggiator selects notes based on which keys you are holding down.

It does. There are two audio inputs. They are at the oscillator input so they can go through the entire signal chain letting you use the MS2000 as an audio processing chain!

Wow, that’s terrible. Were you able to save the patch normally? My video is about assigning patches to Favorites, not saving patches. Selecting a Favorite merely recalls a stored patch by pressing only one button. It is a convenience feature really The manual describes how to save patches correctly. If you were able to save your patch normally, it should still be there. If you cannot save the patch for some reason, there could be a problem with your unit.

thanks for the answer. It did save but as the original setting of that patch not the design i did. How do i save one i did? @@mikeolson7588

Thanks for watching the video. As mentioned in the description, be sure that the Arpeggiator is in the Manual 1 mode. Also make sure to hold SHIFT while pressing the Sequence button (to get key triggering). The other important thing is that when you enter the chords to record them, make sure and hold down all of the notes together. If you put in one at a time, you’ll end up with a 1-note chord. You can test if the chords are correct by turning off the arpeggiator (by putting the synth in POLY mode) and then playing the sequence. You should get 4-note chords. If you don’t, then probably you need to re-enter them, holding all the keys of the chord together. Hope this helps.

SLEW!!!

🤘🏻😛 great videos

I don’t have the Monologue myself, but a quick read of the User Manual and Quick Start Guide says nothing about saving Favorites. While you can clearly save your own patches following the procedure in the manual, there doesn’t seem to be a one-button method to recalling them as we see with Favorites on the Minilogue. Sorry.

@@mikeolson7588 Thanks man! no worries been wondering this for ages

Good comments. Thanks for watching!

From a technical standpoint, mapping any set of larger values to a smaller set is Quantization. I agree that in our DAW’s we quantize time (or beats). The SQ-1 does quantize it’s output voltage from a continuous range of voltage, to discreet values determined by the settings (either Oct/V or Hz/V). A Chromatic scale is a frequency relationship between pitches. In Western scales, the Chromatic scale is in semitones. Our synthesizers convert Quantized Voltages into Chromatic pitches.

Agreed!

The Mod Sequencer does not ‘record’ notes you play, unlike many newer sequencers. Instead you program the notes (using the 16 knobs) as semitones relative to the key you are playing on the keyboard. Pressing a key on the keyboard starts the Mod Sequencer and releasing a key on the keyboard stops the Mod Sequencer (it will continue until the RELEASE phase of the Envelope Generator finishes). It may be easier to think of the Mod Sequencer more like an Envelope Generator or LFO in terms of it’s behavior.

@@mikeolson7588 🤔 pretty confusing but I think I understand. Also I played the demo songs within the synth and noticed that there's multiple parts going simultaneously. Where are the drums ? Can't find them in the synth? Also how does one make a kick , snre , hi and synth sounds all at once ? Like a demo song. Also, I tried to make an init program right, I fiddled with the knobs to change the sound and make something I like. Where do I save that sound ? I see I can name it and write it in but there's no empty available banks? I have to write in the banks that have data in it ? For example I wrote over bank c08 . So now when I'm in play mode in the c bank I lost the original data that came with the hardware in c8 . Make sense ? Sorry for the multiple questions. Thanks in advance

I’m not sure I understand your question exactly. By default Chan A outputs on MIDI CH 1 and Chan B outputs on MIDI CH 2. You can change this with the Global Settings method. When in the Parallel Mode, Chan A will output to MIDI CH 1 and B will Go to MIDI CH 2. If you assign one synth to CH1 and the other to CH 2 you will get independent notes on each synth. You are limited to 8 steps for each channel. If you go into a mode that uses all 16 steps it will be output ONLY on CH 1. Not sure this answers your question or not, so feel free to elaborate.

Thank You. Really appreciate your getting back and your excellent video.

No argument there. This was more of a challenge video to see ‘how could I do this?’. With todays DAW’s it would obviously be much easier to just send MIDI data to the synthesizer. Thanks for watching.

@@mikeolson7588 well done love a good brain exercise of working within limitations of our synths to achieve somethings its not intended for

Great question. Not knowing what your gear is I cannot make a specific recommendation, but even a mixer is actually a voltage summer. If you have any modular equipment at all I’m sure there are plenty of utility modules that can perform this function. Many amplifiers with multiple DC inputs also sum voltages. From a technical perspective, to sum voltages accurately the input impedance of the summing circuit need to be high to prevent ‘pulling down’ the voltage outputs from the SQ-1 which would de-tune the summed CV’s.

Anything with a MIDI input (DIN or USB) can be sequenced.

You will typically use the GATE output from CHAN A and/or CHAN B to trigger an envelope generator in your synthesizer. That way you can get whatever effect you want.

Hi Dieter, if you want the SQ-1 to run faster than the clock on Sync In, then set the set the Sequencer step resolution (SEE FAQ on Korg website how to do this) to one of the x2 modes. It will run twice as fast as the input clock. You are correct in that Sync is a STEP control and not a speed control. Another idea is to use the GATE OUT of one channel of the SQ-1 as the sync TO your external drum machine (your drum machine will follow the SQ-1 gates as a clock). That way you can turn gates off on the SQ-1 to slow down the drum machine relative to the SQ-1. This is probably only useful if you are only using one channel of the SQ-1 for notes though. Assuming you are in the parallel mode with 8 steps from each channel, you could have the SQ-1 effectively running 8 times as fast as the drum machine (by having only one gate ON for the 8 steps). Using this technique you can get quite strange results when the number of gates that are on is not an even number, or are not evenly spaced!

I would love to keep this comment here and yet honestly I don’t know what it means!

@@mikeolson7588 ITS about the Feeling to particate in the creative process. Even If your only listening.

Hey Tor! Thanks for the comment. I actually find myself going back to this video and just listening to the evolving melody because it’s just cool…

I have not tried this with the MS-20, though I do have an original one. The MS-20 has three locations in the patch bay that can be used to control VCO Frequency: “VCO 1+2 CV IN”, “Total”, “Freq”. The last two have intensity knobs under the FREQUENCY MODULATION knobs “MG/T.EXT” and “EG1/EXT”. To try this out I would run CVA from the SQ-1 into the “VCO 1+2 CV IN” and then CVB from the SQ-1 into the “FREQ” jack. Turn the “EG1/EXT” knob all the way and experiment to see what you get. For the original MS-20 the frequency control is Hz/Volt (not V/OCT) so you have to turn on the SQ-1 and hold a particular button combination to put it into Hz/Volt mode. The ‘manual’ describes how to do that.

‘…until you see Saved to Favorites #x’

Thank you Ed

Also, can you enter individual note data off the keyboard for each individual step (on the keyboard version or with an external midi keyboard for the rack unit)?

Hi Steve. First of all, thank you for watching the video and asking questions. Secondly, I fully appreciate that this is a confusing topic (as I mention at the beginning of the video) and that’s why I made the video in the first place. Don’t worry if this isn’t making sense right away. The problem I had, and maybe you are also having, is that I had an expectation that I would be programming NOTES into the sequencer. I thought the only purpose of a sequencer was to produce a specific pattern of notes. It turns out this is NOT the case, especially with the Mod Sequencer. The short answer is NO, you don’t enter notes (Like C, E#, F, A) and NO, you can’t use the keyboard or an external controller to enter note names. At 3:53 in the video I describe how Pitch values are entered. They are entered as semitones. AT 4:04 the display shows that sequence lane #1 (of the three available lanes) is modulating PITCH. At 4:11 I adjust the 16 knobs (some off camera to save time) to RELATIVE PITCH. Remember, the PITCH lane has a range of -24 to +24 SEMITONES. At 4:21 the display shows a particular step and the number of semitones that step is modulating. To understand why the PITCH lane is in semitones, is because it is modulating whatever the pitch is of the note you have pressed, BY the number of semitones of the mod sequencer. For example: Let’s say you want a 4-step sequence that plays C, D, E, D. To program this into the MOD SEQUENCER, you choose PITCH as the parameter you want to modify. Next, you turn the first 4 knobs of the sequencer to: 0,2,4,2. To get the sequence, you press the C key on the keyboard and the mod sequencer MODIFIES this pitch by first adding 0 semitones (doesn’t change the pitch), then +2 semitones which moves the C to D, then 4 semitones which moves the C to E, and then 2 semitones which moves the C to D. The resulting notes you hear when you hold down the C key are: C,D,E,D. Now, if you hold down the D key instead of the C key, you will get: D, E, F#, E. The MOD SEQUENCER is modulating the pitch of the key you press by the number of semitones of the particular step of the sequencer. In this way, the sequence is automatically TRANSPOSED simply by hitting a different key on the keyboard. Furthermore, you can play a chord, and the Mod Sequencer will transpose the entire chord for you! At 6:53 I mention that the Mod Sequencer is exactly what it says it is: A modulation Source. It is NOT a NOTE SOURCE. Because of this, at 7:35 in the video I mention that, as a result, the Mod Sequencer can not only modulate the pitch of notes, but a huge number of other things. Since there are 3 lanes in the Mod Sequencer, you can modulate three things simultaneously. Since there are two Timbres in the MS2000, you get an independent Mod Sequencer for each Timbre that can be totally different. If this is hard to understand still, just remember, the Mod Sequencer doesn’t know what NOTES are - it only knows what RELATIVE PITCH is (in semitones). I struggled to understand this myself as I was used to, as you may be, programming NOTES into a sequencer. The MS2000 doesn’t work that way (and many sequencers are like the MS2000). Nevertheless, many sequencers do allow you to program notes, sometimes using the keyboard. Because of this, it can be confusing at first to understand what the Mod Sequencer is doing and how to use it to get the note sequence you want. If you are willing, check out my other video where I show how to program chord sequences using the MS2000. This is quite a bit more complicated and relies on understand this video and what I’ve described. Thanks again for your comments and I hope you will come to understand the Mod Sequencer and exploit it’s many capabilities!

@@mikeolson7588 Thanks, I think I get it now, but in terms of korg's design I don't (yet anyhow) see the advantage of basing a sequence off relative pitch (difficult to compose initial sequence using semitones, and lord knows what you would do with that on the keys once programmed). Do very much appreciate you taking the time to explain.

Thank you Dan.